v^ 


©berlin  College  Xibrar?  Bulletin 

VOLUME  I.,  NUMBER  3. 


THE 

HISTORY  OF  CHURCH  MUSIC 

SYLLABUS 

WITH    BIBLIOGRAPHICAL   REFERENCES. 

FOR  A  COURSE  OF  TWENTY-FIVE  LECTURES  GIVEN  AT 

OBERLIN  THEOLOGICAL  SEMINARY, 

JANUARY-MAY,  l8g6. 

BY 

EDWARD  DICKINSON, 

Professor  of  the  History  and  Philosophy  of  Music, 
Conservatory  of  Music,  Oberlin  College. 


OBERLIN,  OHIO. 
1896. 


i 


DE  1932  * 


©berltn  College  Xibrarv?  Khfi^m 

VOLUME  I.,  NUMBER  3. 


THE 

HISTORY  OF  CHURCH  MUSIC 

SYLLABUS 

WITH    BIBLIOGRAPHICAL    REFERENCES 

FOR  A  COURSE  OF  TWENTY-FIVE   LE<  UVEN   AT 

OBERL1N  THEOLOGICAL  SEMINARY, 

JANUARY-MAY,  1 896. 


BY 

EDWARD  DICKINSON, 

Professor  of  the  History  and  Philosophy  of  Music, 
Conservatory  of  Music,  Oder /in  Coll. 


OBERLIN,  OHIO. 

PEARCE  AND  RANDOLPH,   PRINTERS. 


PREFACE. 


The  references  in  this  pamphlet  are  to  books  which,  with  a 
few  exceptions,  are  contained  in  the  Oberlin  College  Library.  The 
intention  has  been  to  include  in  this  bibliography  the  most  valuable 
works  on  the  subject  which  exist  in  English.  Out  of  the  larger 
number  to  be  found  in  German  and  French  a  few  have  been  se- 
lected which  are  indispensable  to  a  thorough  study.  For  magazine 
articles  the  student  is  referred  to  Poole's  Index  to  Periodical  Liter- 
ature. 

The  publisher  and  date  of  a  work  are  stated  at  the  first  men- 
tion of  the  work  only.  The  most  important  references  are  distin- 
guished by  asterisks. 


I. 

GENERAL    CHARACTER    OF  RELIGIOUS    MUSIC 
IN  ANCIENT  AND    PRIMITIVE    TIMES. 

Supposed  antiquity  of  music;  theories  of  its  origin;  its  univer- 
sality. 

Music  in  religious  rite  and  ceremony;  its  instinctive  employ- 
ment in  the  expression  of  awe  and  reverence.  The  ancient  relig- 
ious festival;  the  sacred  dance,  how  and  when  employed;  primitive 
union  of  poetry,  dance,  and  music.  Nature  of  the  primitive  choral 
chant. 

Religious  song  among  the  most  ancient  nations;  Assyrians; 
Egyptians.  Function  of  instrumental  music  in  ancient  religious 
ceremony.  Symbolism;  miraculous  origin  and  powers  ascribed  to 
music. 

The  most  ancient  vocal  music  was  probably  a  heightening  of 
speech  inflection,  an  irregular  chanting;  its  rhythm  was  subject  to 
that  of  the  poetry.  Music  was  not  a  free  independent  art.  Har- 
mony was  unknown.  Music  therefore  did  not  progress  beyond  a 
half-barbaric  condition.  Controlled  by  the  priestly  class  who  op- 
posed innovation. 

Music  among  the  Greeks  was  more  refined,  but  restrained  by 
similar  ideas;  made  little  sign  of  progress  until  after  the  golden 
age  of  Greek  art  was  past. 

REFERENCES. 

*  Spencer.     Origin  and  Function   of   Music;  Essays.     New  York, 

Appleton,  i8qi. 
Popular  Science  Monthly,  Sept.,  1893.      The  Origin   of   Literary 

Forms. 
=fcPopular  Science  Monthly,  April,  1893.     The  Festal  Development 

of  Art. 
Brown.    The  Fine  Arts.     New  York,  Scribner,  1891. 
Knight.     The  Philosophy  of  the  Beautiful,  Part   II.     New  York, 

Scribner,  1893. 
*Parry.    The  Art  of  Music.     London,  Kegan  Paul,  [894. 


Elson.     Curiosities  of  Music.     Boston,  Ditson,  1880. 

*Engel.     Music  of  the  Most  Ancient  Nations.     London,  Murray, 

1864. 
*Naumann.     History  of  Music,  2  Vols.     Tr.  by  Praeger;  edited 

by  Ouseley.     London,  Cassell  &  Co. 
Wallcschek.     Primitive  Music.     London,  Longmans,  1893. 
Burney.     History  of  Music.  Vol.  I. 

Rowbotham.     History  of  Music,  3  Vols.     London,  Trubner,  1885. 
*Ambros.     Geschichte  der  Musik,  5  Bde.     Leipzig,  Leuckart,  1887. 


II. 
MUSIC  AMONG    THE  ANCIENT    HEBREWS. 

Conception  of  music  among  the  Hebrews.  Music  with  them 
was  "divine  service,  not  art."  (Ambros.)  Followed  the  general 
laws  of  music  among  ancient  nations;  not  a  free  art,  but  auxiliary 
to  poetry  and  the  dance. 

Present  slight  knowledge  of  the  Hebrew  musical  practice;  no 
authentic  melodies  or  theoretical  treatises  have  come  to  us.  Music 
probably  in  the  barbaric  stage. 

Hebrew  instruments  were  derived  frem  neighboring  nations. 
Their  names  and  character,  so  far  as  known;  for  what  purposes 
used.     The  schools  of  the  prophets. 

Hebrew  vocal  music  more  important  than  instrumental;  its  re- 
lation to  lyric  poetry.  Character  of  the  Psalms;  their  adaptiveness 
to  musical  treatment. 

The  golden  age  of  Hebrew  poetry  and  music  in  the  period  of 
David  and  Solomon.  Music  at  the  dedication  of  Solomon's  tem- 
ple; its  use  in  the  temple  service, 

Inferences  in  regard  to  the  style  of  Hebrew  song  drawn  from 
the  structure  of  the  Psalms,  indications  in  the  Bible,  tradition,  an- 
alogy, etc.  Headings  of  the  Psalms  as  referring  to  musical  render- 
ing. * 

The  musical  service  in  the  second  temple  as  indicated  by  Ezra 
and  Nehemiah. 

Final  extinction  of  the  temple  service.  Have  any  remnants  of 
the  temple  music  survived  to  the  present  time? 


REFERENCES. 

Histories  of  Ambros,  Burney,  and  Naumann. 

Smith's  Dictionary  of  the  Bible.     Boston,  Houghton,  Mifflin  &  Co. 

McClintock  &*  Strong  s  Cyclopaedia  of  Biblical,  Theological,  and 
Ecclesiastical  Literature.     New  York,  Harper,  1867-1885. 

Engel.     The  Music  of  the  Most  Ancient  Nations. 

*Stainer.     The  Music  of  the  Bible.     London,  Cassell,  1882. 

*Curwen.     Studies  in  Worship  Music,  Series  I.     London,  Curwen. 

Kaiser  &<>  Sparger.  A  Collection  of  the  Principal  Melodies  of  the 
Synagogue.     (Introduction.)     Chicago,  Rubovits,  1893. 

Rites  and  Worship  of  the  Jews.  Published  by  the  Religious  Tract 
Scciety.     London,  1838. 

Perowne,     The  Book  of  Psalms.     London,  Ball,  1870. 

Herder.     The  Spirit  of  Hebrew  Poetry.     Burlington,  Marsh,  1833. 

*l)elitsch.  Commentary  on  the  Psalms,  English  translation.  Edin- 
burgh, Clark,  1876. 


III. 
MUSIC    IN    THE    EARLY    CHRISTIAN    CHURCH. 

Song  the  natural  expression  of  the  fervor  and  joy  of  the  early 
Christians.  Peculiar  adaptiveness  of  music  to  the  genius  of  Chris- 
tianity.    Music  preeminently  a  Christian  art,  and  why. 

Music  must,  however,  develop  slowly;  conditions  of  a  highly 
developed  art  of  song.  Early  Christian  music  simply  a  continua- 
tion of  the  ancient  style  and  method. 

Song  as  an  agent  in  spiritual  culture  and  in  the  propagation  of 
the  faith.  Indications  of  the  use  of  music  as  found  in  the  New 
Testament. 

Scanty  means  of  information  in  respect  to  music  in  the  first  two 
centuries.  Use  of  antiphonal  singing.  Church  song  in  the  begin- 
ning congregational.  Theories  in  respect  to  the  origin  of  the 
Christian  melodies,  and  their  character. 

To  what  extent  were  instruments  employed?  Prejudice  against 
thejn,  and  its  causes. 

y  Christian  hymns;   Psalms,  Canticles,  the   Gloria  in  Kx- 
re/sis,  hymn  at  the  lighting  of  candles,  Ter  Sanctus,  * 

Oriental  Christian  hymnody.  Syriac  hymnody:  Ephraem  the 
Syrian 


Greek  Christian  hymnody:  Cosmas,  St.  John  of  Damascus, 
Gregory  of  Nazianzen. 

Heretical  use  of  song;  Bardasanes,  the  Arians,  etc. 

Gradual  transfer  of  the  office  of  song  from  the  congregation  to 
a  select  company  or  choir;  causes  and  historic  significance  of  this 
change. 

Growth  of  the  great  historic  liturgies.  Increase  of  ceremonialism 
after  the  peace  of  the  church  (fourth  century  i;  its  growth  coincident 
with  a  gradual  hierarchical  concentration  of  power. 

Music  in  the  Roman  church  probably  Greek  in  origin.  The 
ritual  takes  a  musical  dress  from  the  beginning.  Rise  of  the  litur- 
gical chant. 

Antiphonal  singing  in  the  church  of  Milan  under  St.  Ambrose; 
report  of  St.  Augustine  (Confessions).  Music  in  the  western  church 
taken  under  the  sole  care  of  the  clergy.  Choirs  and  singing  schools. 
The  worship  in  the  basilicas. 

REFERENCES. 

Histories  of  Afnbros,  Buriiey,  and  Naumann. 

McClintock  &*  Strongs  Cyclopaedia.  Articles— Music,  Singing, 
Liturgies. 

Smith  &*  Clieethani  s  Dictionary  of  Christian  Antiquities.  Hart- 
ford, J.  B.  Burr  Co.,  1870.     Article— Music. 

*Kostlin.  Geschichte  des  Christlichen  Gottesdienstes.  Freiburg, 
Mohr,  1887. 

Pressense.  The  Early  Years  of  Christianity.  New  York,  Nelson 
&  Phillips,  1876.     Vol.  [V.,  bk.  II.,  chaps,  i.-vi. 

Schletterer.  Geschichte  der  geistlichen  Dichtung  und  kirchlichen 
Tonkunst.     Hannover,  Riimpler,  1869. 

Neale.  Essays  on  Liturgiology  and  Church  History.  London, 
Saunders,  1867. 

Maskell.  The  Ancient  Liturgies  of  the  Church  of  England.  Ox- 
ford, Clarendon  Press,  1882. 

*Koch.  Geschichte  des  Kirchenliedes  und  Kirchengesanges.  Stutt- 
gart, 1866. 

* Julian.     Dictionary  of  Hymnology.      London,  Murray,  1802. 

Encyclopaedia  Britannica.     Article     Hymns. 

•■Articles  in  Caecilien  [Calendar,  1876-1885;  and  Kirchenmusika- 
lisches  Jahrbuch,  [886  [894.     Regensburg,  Pustet. 

Mrs.  Charles.  Voice  of  Christian  Life  in  Song.  New  York,  Carter, 
1866. 


Schaff.     Christ  in  Son-;.     New  York,  Randolph,  I 

Saunders.     Evenings  with  the   Sacred    Poets.     New    York,  Ran- 


IV. 
EPOCH   01    THE    ROMAN    LITURGICAL   CHANT. 

[mpressi  iturgy,  music,  and   ceremonies   of  the 

Catholic  church. 

Union  of  the  arts.     Value  ^i  Eorms  in  worship;  the  problem  of 

ecclesiastical  art.     Its  twofold  purpose  is  to  edify  the  believer,  and 
to  show  honor  to  the  object  iA  adoration. 

The  liturgy  of  the  Catholic  church,  its  origin,  development,  and 
meaning.  The  office  of  the  .Mass,  its  various  components;  acces- 
sory ceremonies,  theii  antiquity  and  significance.  Kffect  of  this 
service  upon  the  devout  Catholic. 

Liturgies  of  the  West:  the  Roman,  Milanese,  Mozarabic,  Gal- 
ilean, English.     Almost  universal  adoption  of  the  Roman  use. 

The  Latin  as  a  universal  liturgical  language;  reasons  for  this 
law. 

The  liturgy  bound  up  with  a  fixed  and  prescribed  form  of  mu- 
sical rendering;  intimacy  and  significance  of  this  union  of  text  and 
tone. 

The  liturgical  chant  of  the  Catholic  church,  the  so-called  Gre- 
gorian; its  general  character;  antiquity;  extraordinary  veneration 
accorded  to  it;  its  mvstic  symbolic  meaning;  its  effect  religious 
rather  than  artistic. 

Forms  of  the  Catholic  chant  or  "Plain  Song";  suitablenes 
its  purpose;  principles  and  laws  of  rendering;  elements  of  its  ex- 
sion. 

The  Catholic  chant  a  continuation  into  modem  times  of  the 
conception  and  method  of  all  ancient  worship  music.  Music  as  sub- 
ordinate to  poetry,  rite,  and  ceremony.  Peculiar  impression  of  awe 
imparted  by  this  mi 

REFERENCES. 
Histories  of  Ambros,  and  Naumann. 
M  ( 'lintock  &»  Sti 

\  iarv,  1  [ours. 


8 

Schaff.     History  of  the  Christian  Church.     New  York,  Scribner, 

1882-1888.     Vol.  III.,  chap.  vii. 
*Koch.    Geschichte  des  Kirchenliedes  und  Kirchengesanges. 
*K'6stlin.    Geschichte  des  Christlichen  Gottesdienstes. 
*0'Brien.     History  of  the  Mass.     New  York,  Catholic  Publishing 

Society,  1893. 
*  Grove's  Dictionary  of  Music  and  Musicians.     London  and  New 

York,  Macmillan,  1879-1890.     Article— Mass. 
♦Catholic  World,  Vol.  XX VII I.     Plain  Chant  in  its  Relation  to 

the  Liturgy. 
Catholic  World,  Vol.  XXI.     The  Roman  Ritual  and  its  Chant. 
Littell's  Living  Age,  Vol.  CXLIV.     The  Roman  Breviary. 
Schlecht.    Geschichte  der  Kirchenmusik.     Regensburg,  Coppen- 

roth,  1879. 
Clement.     Histoire   generate   de   la    Musique    religieuse.      Paris, 

Adrien  le  Clere,  1861. 
Maskell.     Ancient  Liturgies  of  the  Church  of  England. 
*Articles  in  Caecilien  Kalendar,  and  Kirchenmusikalisches  Jahr- 

buch. 
Schlettcrer.     Geschichte  der  geistlichen  Dichtung  und  kirchlichen 

Tonkunst. 


V. 
EPOCH  OFTHEROMAN  LITURGICALCHANT.—  II. 

Why  is  this  form  of  chant  called  "Gregorian"?  Gregory  I. 
(pope  580-604),  his  distinction  in  the  history  of  the  church;  the 
Roman  liturgy  practically  completed  by  him;  supposed  founder  of 
the  system  of  liturgical  chant. 

He  is  declared  to  have  revised,  selected,  composed,  and  noted 
many  chant  melodies,  established  a  singing  school,  and  to  have 
added  scales  to  those  already  in  use. 

This  tradition,  unquestioned  until  a  very  recent  time,  is  now 
found  to  have  no  positive  historic  basis.  Origin  of  the  tradition 
and  reasons  for  the  present  doubt. 

Probable  date  of  the  changes  which  produced  the  "  plain  song  " 
of  the  church.  The  conjectural  origin  of  these  melodies.  Later 
efforts  to  discover  and  establish  their  original  form. 

Tonality  of  the  Gregorian  chant;  authentic  and  plagal  modes. 


Mediaeval  notation;  the  neumaet  and  the  development  of  the  men- 
sural system. 

Efforts  of  the  hierarchy  to  establish  uniformity  in  the  ritual  and 
its  musical  rendering  throughout  the  West.  The  Roman  liturgical 
chant  carried  and  taught  by  the  Roman  missionaries. 

Great  services  of  Charlemagne  (king  of  the  Franks  768-814)  as 
protector  of  the  church  and  ally  of  its  missionary  and  educational 
work.  His  love  of  learning.  The  schools  founded  and  maintained 
by  him.  His  authority  exerted  in  favor  of  uniformity  in  worship. 
Aids  in  establishing  the  Roman  chant  in  place  of  the  Ambrosian 
and  Gallican  forms;  imports  singers  from  Rome,  and  supports 
them  in  the  ecclesiastical  schools  of  his  empire. 

The  convent  schools  of  this  epoch;  their  importance  in  the  his- 
tory of  education. 

The  convent  of  St.  Gall  second  only  to  Rome  as  a  center  and 
model  of  church  music  in  the  eighth,  ninth,  and  tenth  centuries; 
its  famous  musicians,  poets,  and  scholars;  its  daily  musical  ser- 
vices, methods  of  instruction,  and  practice. 

Notker  Balbulus  and  the  Sequence. 

The  unison,  unaccompanied  chant  the  sole  form  of  church  mu- 
sic until  about  1000.  Its  connection  with  monastic  life.  Illustra- 
tions of  the  veneration  in  which  it  was  held  by  the  monks. 

REFERENCES. 
*Schubiger.     Die  Siingerschule  St.  Gallens.    Einsiedlen,  Benziger, 

1858.' 
*Parry.     The  Art  of  Music,  chap.  ii. 
*Gevaert.     Les  Origines  du   Chant   liturgique.     Gand,  Librairie 

Gene  rale  de  Ad.  Hoste,  Editeur,  1800. 
*Gevaert.     La  Melopee  antique  dans  le  Chant  de  1' Eglise  latine. 

Gand,  1895. 
♦Articles  in  Caecilien  Kalendar,  and   Kirchenmusikalisches  Jahr- 

buch. 
Gregorian  Chant  (technical): 
*Uabcrl.     Magister  Choralis.    Tr.  by  Donnelly.    Regensburg  and 

New  York,  Pustet,  1892. 
*Pothier.     Les    Melodies   Gregoriennes.      Tournay,  Desclee,  Le- 

febvre  et  Cie.,  1880.     A  German  translation  by  Kienle. 
*Grove's  Dictionary.     Articles  -Plain    Song,    Modes,   Gregorian 

Tones  (appendix). 


IO 

Spencer.  Concise  Explanation  of  the  Church  Modes.  London, 
Novel  lo. 

*Helmore.  Plain  Song  (Novello's  Music  Primers).  Loudon,  No- 
vello. 

Pole.     Philosophy  of  Music.     London,  Tri'ibner,  1879. 

*  Wagner.  Einfiihrung  in  die  Gregorianischen  Melodien.  Frei- 
burg (Schweiz),  Yeith,  1895. 


VI. 

THE    DEVELOPMENT    OF   POLYPHONIC   MUSIC. 

First  known  use  of  harmonic  music  in  the  church;  supposed 
origin  of  the  new  form;  transfer  of  musical  progress  from  the  South 
to  the  North;  native  music  of  the  early  Keltic  and  Teutonic  na- 
tions. 

Hucbald,  a  monk  of  Flanders  (840  930),  and  his  Organum, 

The  problem  of  contrapuntal  music;  its  early  simplicity  and 
rudeness;  possibilities  of  development. 

Addition  of  parts  to  a  cantus  firmus  on  the  principle  of  "imita- 
tion." 

Necessity  for  more  precise  methods  of  fixing  the  length  and 
pitch  of  notes;  mensural  music  and  its  progress;  growing  com- 
plexity of  structure  and  of  notation;  the  "descant." 

Methods  of  composition  in  the  thirteenth,  fourteenth,  and  fif- 
teenth centuries;  the  composer  not  an  inventor  of  melodies;  the 
scholastic  age  of  music;  a  long  period  of  scientific  experiment  pre- 
cedes the  attainment  of  beauty  and  expression. 

The  dry  counterpoint  of  the  church  uninfluenced  by  the  folk 
or  tin.'  lays  oi  the  Troubadours  and  the  Minnesingers. 

The  "extemporized  descant  "  and  its  abuses. 

1  lawn  of  the  period  of  artistic  counterpoint  in  the  fourteenth 
century.  The  court  chapels  and  schools  of  France  as  musical  cen- 
ters. 

Mediaeval  polyphony  gradually  completed  by  the  musicians  of 
northern  France  and  the  Netherlands. 

The  Netherlanders,  and  their  supreme  influence  in  European 
music  in  the  fifteenth  and  hist  half  of  the  sixteenth  centuries. 

The  papal  court  at  Avignon  (1309  1370);  introduction  of  coun- 
nt  into  the  papal  chapel. 


II 

The  epoch  of  Dufay  (early  in  the  fifteenth  century,);  of  Okeghera 
(about  1420-1513);  of  Josquin  des  Pres  (about  1450  1521). 

Mediaeval  polyphonic  music  culminates  in  the  sixteenth  century 
in  Lassus,  Willaert,  and  Palestrina. 

Nature  of  this  evolution;  complexity  of  this  music;  abstract 
and  typical  rather  than  definitely  expressive. 

Frequent  abuses;  use  ot  secular  tunes  a^  cantus  firmus. 
Beauty  of  tone  effect  obtained  by  unaccompanied  voices. 
The  Latin  hymns  of  the  mediaeval  church. 


REFERENCES. 

Histories  as  before. 

*Coussemaker.     Histoire  de  1'  Harmonie  au    Moyen  Age.     Paris, 

[852. 
Grove  s  Dictionary.     Articles— Schools,  Mass,  Motet. 
Pole.     Philosophy  of  Music,  chap.  xx. 
♦Articles  in  Caecilien  Kalendar,  and   Kirchenmusikalisches  Jahr- 

buch. 
•Famous  Composers  and  their  Work-.     (Boston,  J.  B.  Millet  Co. 

Article — The  Netherland  Masters,  by  Henderson. 
Sehletterer.     Studien   zur  Geschichte  der   Franzosischen    Musik. 

Berlin,  Damkohler,  1884. 
*Parry.     The  Art  of  Music,  chap.  iv. 
The  Latin  Hymns: 
*March.     Latin  Hymns,  with  English  Notes.     New  York,  Harper, 

[894. 
*Wackernagel.     Das   deutsche    Kirchenlied.      Leipzig,   Teubner, 

1851.     Vol.  I. 
Koch.     Geschichte  des  Kirchenliedes  und  Kirchengesanges. 
*  Julian's  Dictionary  of  Hymnoloj 

*.Trench.     Sacred  Latin  Poetry.      London,  Macmillan,  1874. 
*Duffield.     Latin    Hymn  writers    and    their    Hymns.     New  York, 

Funk,  1889. 
*Neale.    Mediaeval  Hymns  and  Sequences.   London,  Masters,  1867. 
Mrs.  Charles.     Voice  of  Christian  Life  in  Song. 
Sehajf.     Christ' in  Song. 

Encyclopaedia  Britannica.    Article — Hymns. 
•The  Roman  Breviary.     Tr.  by  the  Marquis  of  Bute. 
Saunders.     Evenings  with  the  Sacred  Poets. 


12 

VII. 

THE   CULMINATING    PERIOD    OF   MEDIAEVAL 

MUSIC:   PALESTRINA  (about  1524-1594). 

Two  styles  of  music  in  the  Catholic  church  in  the  sixteenth 
century — the  Gregorian  chant  and  the  a  capella  chorus. 

The  spirit  of  the  Renaissance  not  felt  in  music  until  late  in  the 
sixteenth  century;  the  church  music  not  affected  by  the  secular 
luxury  and  moral  decay  of  the  time;  purity  of  ideal  maintained  by 
the  church  composers. 

The  polyphonic  style  reaches  its  perfection  in  the  works  of 
Palestrina;  his  life  in  the  service  of  the  popes;  his  extraordinary 
industry  and  influence;  nobility  of  character. 

The  "Mass  of  Pope  Marcellus";  the  legends  that  have  grown 
up  around  it.  Palestrina  not  the  savior  of  church  music,  as  so  often 
stated;  the  Council  of  Trent  had  no  intention  of  abolishing  chorus 
music;  the  Marcellus  Mass  not  written  by  command  as  a  model, 
and  not  a  new  style. 

The  reforms  emanating  from  the  Council  of  Trent;  the  Catho- 
lic Reaction  felt  also  in  the  sphere  of  church  art. 

The  Marcellus  Mass  as  an  example  of  Palestrina's  work;  beauty 
andloitinessof  its  style;  the  most  perfect  type  of  mediaeval  musical 
art. 

The  motive  and  effect  of  the  Catholic  music  of  the  sixteenth 
century.  It  must  be  studied  from  two  points  of  view,  the  artistic 
and  the  religious,  but  these  cannot  be  entirely  separated. 
Technical  structure,  tonality,  difficulty  of  comprehension. 
The  Palestrina  style  as  an  expression  of  the  rapt  and  mystical 
type  of  piety  especially  nurtured  by  the  discipline  of  the  Catholic 
church.  Its  proper  effect  depends  largely  upon  place,  occasion, 
and  historic  and  devotional  association. 

The  polypbonic  style  in  the  seventeenth  century;   increasing 

brilliancy  and  variety  of  effect,  especially  in  the  music  of  Venice. 

The  Church  of  St.  Mark,  and  its  great  musicians;  splendor  of 

ritual;  transition  to  a  more  modern  tone  in  worship  music;  Lotti, 

the  last  great  Venetian  church  composer. 

Church  music  in  Rome  after  Palestrina;  Allegri  (about  1580- 
1652);  his  famous  Miserere,  and  its  performance  in  the  Sistine 
chapel. 

Is  the  Catholic  mediaeval  style  the  highest  example  of  church 


i3 

music?    Union  of  the  arts  in  the  Catholic  service.    Question  of  the 
relative  values  of  liturgical  and  non-liturgical  worship. 

REFERENCES. 

For  the  period,  standard  works  on  the  Renaissance  and  the  Cath- 
olic Reaction,  such  as  Rankes  History  of  the  Popes,  Symonds's 
The  Renaissance  in  Italy,  Burckhardfs  Civilization  of  the 
Period  of  the  Renaissance,  Ifaussers  The  Period  of  the  Refor- 
mation. 

*Ambros.     Geschichte  der  Musik,  Band  IV. 

*VVinterfeld.  Johannes  Gabrieli  undsein  Zeitalter,  2  Bde.  Berlin* 
Schlesinger,  1834. 

*Articles  in  Caecilien  Kalendar,  and  Kirchenmusikalisches  Jahr- 
buch. 

*Parry.     The  Art  of  Music,  chap.  v. 

•Catholic  World,  Vol.  XLVIII.     The  Palestrina  Myth. 

Bibliotheca  Sacra,  January,  189 j..  The  Golden  Age  of  Italian 
Church  Music. 

Mendelssohn.  Letters  from  Italy.  Tr.  by  Lady  Wallace.  Boston,. 
Ditson.     Pp.  126-135,  168-191. 

*  Wiseman.  Lectures  on  the  Offices  and  Ceremonies  of  Holy 
Week.     Baltimore,  Kelly,  1850. 

Thibaut.     Purity  in  Music.     Tr.  by  Broadhouse.    London,  Reeves* 


VIII. 

CATHOLIC    CHURCH  MUSIC    IN   THE   LAST 
THREE  CENTURIES. 

Three  historic  forms  of  Catholic  church  music,  viz.,  the  unison 
chant,  the  a  caPella  polyphonic  chorus,  and  the  accompanied  solo 
and  choral  song. 

The  transition  period  of  musical  history.  The  invention  of  the 
Opera  about  1600;  transformation  of  the  Gregorian  modes  into  the 
modern  major  and  minor  scale  system;  the  rise  of  instrumental 
music;  the  beginning  of  all  modern  forms  and  styles. 

Introduction  of  these  new  forms  and  methods  into  the  church; 
church  music  revolutionized  by  the  dramatic  style  of  solo  singing 
and  the  popularity  of  organ  and  orchestra.     Employment  of  the 


14 

female  voice  and  the  recasting  of  the  choir;  defmitenessof  expres- 
sion in  modern  music,  as  compared  with  the  mediaeval. 

Blending  of  the  ecclesiastical  and  operatic  styles  in  the  Ora- 
torio; similar  change  in  the  Mass. 

Decadence  of  the  music  of  the  Catholic  church  in  the  seven- 
teenth and  eighteenth  centuries;  corresponding  decline  in  spiritual 
life.     Depressed  condition  of  art  in  general  in  these  centuries. 

False  ideals  of  church  music  under  the  influence  of  the  univer- 
sal passion  for  the  Italian  opera;  the  masses  of  Haydn  and  Mozart. 
Church  music  in  Italy  and  France  down  to  the  present  time. 

Effect  upon  Catholic  music  of  the  nobler  musical  taste  of  the 
nineteenth  century.  The  Mass  as  treated  by  Beethoven,  Schubert, 
Cherubini,  and  others. 

The  present  condition  of  Catholic  music.  Revival  of  the  study 
of  the  works  of  the  Palestrina  age.  Efforts  to  restore  the  purity  of 
the  Gregorian  chant.     The  St.  Cecilia  Society. 

REFERENCES. 

*Parry.     The  Art  of  Music,  chap.  vi. 

*Naumann.     History  of  Music. 

*Lang7ians.  Geschichte  der  Musik  des  17,  18,  und  19  Jahrhund- 
erts,  2  Bde.     Leipzig,  Leuckart,  1884. 

*Kretzschmar.  Fiihrer  (lurch  den  Concertsaal.  Leipzig,  Liebes- 
kind,  1888.  I.  Theil,  II.  Abtheilung. 

Grove s  Dictionary.    Article — Mass. 

*Jahn.  Life  of  Mozart,  3  Vols.  Tr.  by  Pauline  D.  Townsend. 
London,  Novello,  1882.     (Mozart's  Masses.) 

*Vernon  Lee.  Studies  of  the  Eighteenth  Century  in  Italy.  Lon- 
don, Unwin,  1887.     The  Musical  Life. 

See  biographies  of  the  great  modern  Catholic  composers,  and  arti- 
cles in  periodicals  and  dictionaries. 


IX. 

MUSIC  OF  Till';    EARLY    PROTESTANT   CHURCH 
IN   GERMANY. 

I.     The  German  Hymn  Before  Luther. 
The  temper  and  genius  of  the  Reformation,  and   how  shown  in 
the  songs  of  early  Protestantism. 


i5 

Conception  of  congregational  singing  in  the  Protestant  church; 

how  different  in  the  Catholic  church;  altitude  of  each  toward  the 
vernacular  in  worship. 

Hymn  singing  in  the  native  tongue  before  the  Reformation; 
mediaeval  German  religious  \ 

Theology  of  the  religious  folksong;  comparison  with  the  Latin 
hymns  of  the  middl 

'it  encouragement  given  to  vernacular  hymn-singing  on  the 
part  of  the  church;  attempts  to  supplant  it  with  the  Gregorian 
chant. 

Beginnings  of  the  German  religious  song;  the  Kyrie  eleison. 

Development  of  the  hymn  out  of  the  Kyrie  eleison;  the  Leisen. 

Growth  of  religious  poetry  in  the  epoch  of  the  Crusades  and  the 
Minnesingers. 

Hymns  of  the  Mystics,  fourteenth  century. 

Hymnody  in  the  fifteenth  century;  Hus  and  the  Bohemian  schis- 
matics, their  hymn-books  of  1501  and  1505;  vernacular  hymns  in 
the  celebration  of  religious  festivals. 

The  popular  hymn  not  admitted  as  a  part  of  the  liturgy;  rare 
instances  in  which  it  was  permitted  in  connection  with  the  Mass. 

The  German  folk  song,  secular  and  religious. 


REFERENCES. 

*Wackernagel.     Das  deutsche  Kirchenlied,  Vol.  II. 

*Koch.    Geschichte  des  Kirchenliedes  und  Kirchengesanges. 

^Hoffmann  von  Fallersleben.  Geschichte  des  deutschen  Kirchen- 
liedes bis  auf  Luther's  Zeit.     Hannover,  Riimpler,  1861. 

*Bciumker.  Das  Katholische  deutsche  Kirchenlied.  Freiburg, 
Herder,  1886. 

Liliencron.  Deutsches  Leben  im  Volkslied  urn  1530.  Berlin  und 
Stuttgart,  Spemann. 

Bibliotheca  Sacra,  October,  1895.  The  Hymns  of  Martin  Luther: 
their  Predecessors  and  their  Place  in  History. 


i6 

X. 

MUSIC  OF  THE   EARLY  PROTESTANT   CHURCH 

IN  GERMANY. 

II.     The  Lutheran  Hymns,  and  Musical  Service. 

Luther's  motive, — a  purifier  not  a  destroyer;  his  conservatism 
in  respect  to  forms  of  worship. 

His  revision  of  the  liturgy;  the  service  at  Wittenberg;  the 
Formula  Missce  (1523),  and  the  Deutsche  Messe  (1526). 

Luther  the  founder  of  Protestant  hymnody;  his  love  of  musicr 
and  perception  of  its  value  as  a  proselyting  agent. 

Luther's  hymns  largely  translations  and  paraphrases. 

Effect  of  these  hymns  in  disseminating  the  Lutheran  doctrines; 
their  extraordinary  popularity. 

Their  doctrinal  teaching,  and  poetic  value. 

Rapid  rise  of  hymn  writers  and  multiplication  of  hymn-books; 
he  first  song-book  under  Luther's  auspices  published  in  1524;  sub- 
sequent editions;  Luther's  prefaces. 

Origin  of  the  melodies  of  the  Reformation  hymns;  the  general 
opinion  that  Luther  wrote  tunes  now  shown  to  be  erroneous;  method 
of  composers  in  the  sixteenth  century. 

The  German  Chorale;  its  threefold  origin:  (1)  the  melodies  of 
the  Catholic  Latin  song;  (2)  the  pre-Reformation  religious  folk 
song,  and  (3)  the  secular  folk  song. 

The  choir  music  in  the  early  Protestant  church. 

Gradual  changes  in  the  methods  of  harmonizing  and  singing  the 
Chorale. 

Later  modifications  of  the  Chorale  form;  the  early  rhythmic 
Chorale  as  compared  with  the  modern. 

Influence  of  the  Lutheran  Chorale  upon  the  Catholic  church; 
Catholic  tunes  and  hymn  books  in  the  sixteenth  century. 

The  German  Chorale  and  hymn  reach  their  highest  excellence 
in  the  sixteenth  and  seventeenth  centuries;  influence  of  the  Thirty 
Years'  War  on  sacred  poetry  and  music;  Paul  Gerhardt. 

Decline  of  Chorale  production  in  the  eighteenth  century. 

The  choir  anthem  in  Germany  in  the  sixteenth  and  seventeenth 
centuries;  rise  of  the  great  German  school  of  organ  playing. 

REFERENCES. 
For  the  period,  standard  works  on  the  Reformation  in  Germany. 


17 

~*K'6stlin.     Geschichte  des  Christlichen  Gottesdienstes. 
McClintoek  &>  Strong s  Cyclopaedia.  Articles — Liturgies,  Lutheran 

Church. 
*Dommer.     Handbuch  der  Musik-Geschichte.     Leipzig,  Grunow, 

1878. 
Naumann.     History  of  Music. 
*Sftitta.     Johann  Sebastian  Bach,  3  Vols.    Tr.  by  Clara  Bell  and 

J.  A.  Fuller-Maitland.     London,  Novello,  1884-1888. 
*Winterfeld.     Der  evangelische  Kirchengesang,  3  Bde.     Leipzig, 

Breitkopf  und  Hartel,  1843. 
Curwen.     Studies  in  Worship  Music,  Series  II. 
German  Hymns: 
Julian.     Wackernagel.     Knelt. 
*Baeon  &*  Allen  (editors).     The  Hymns  of  Martin  Luther,  set  to 

their  original  Melodies,  with  an  English  Version.     New  York, 

Scribner,  1883. 
Mrs.  Charles.     Voice  of  Christian  Life  in  Song. 
Winkworth.     Christian  Singers  of  Germany.    London,  Macmillan. 
*  Bennett  &»  Goldschmidt  (editors).    The  Chorale  Book  for  England, 

London,  Longmans,  1865. 
Encyclopaedia  Britannica.     Article — Hymns. 
Bibliotheca  Sacra,  October,  1895.     The  Hymns  of  Martin  Luther. 
Schaff.     Christ  in  Song. 

Saunders.     Evenings  with  the  Sacred  Poets. 
*Lyra    Germaniea.     Tr.   by   Catherine    Winkworth.     New    York, 

Randolph. 


XI. 

CHURCH    MUSIC   IN    GERMANY,   SEVENTEENTH 
AND  EIGHTEENTH  CENTURIES. 

I.     Germany  Under  the  Influence  of  the  New  Italian  Recitative 

and  Aria. 

Church  music  as  affected  by  the  new  Italian  style;  increasing 
prominence  of  solo  singing  and  instrumental  music.  Reasons  why 
this  influence  acted  more  slowly  in  Germany  than  in  Italy. 

The  German  Passion  Music,  Oratorio,  and  Cantata  the  result  of 
the  union  of  old  German  and  new  Italian  elements. 


Conservatism  of  old-school  German  cantors  and  organists  in 
the  seventeenth  century. 

The  Passion  Play  and  the  Passion  Music  in  Germany  adopted 
from  the  usage  of  the  ancient  church;  the  mediaeval  Miracle 
Plays,  Mysteries,  and  Moralities. 

Early  form  of  the  Passion  representation. 

The  chanted  Passion. 

This  form  succeeded  by  the  motet  Passion. 

Heinrich  Schutz  (i 585-1672),  the  greatest  German  musician  be- 
fore J.  S.  Bach,  combines  the  new  Italian  ideas  of  expression  with 
the  old  German  religious  feeling. 

His  Passions,  "Conversion  of  St.  Paul,"  "  Resurrection,"  "Seven 
Words,"  etc. 

The  third  historic  form — the  oratorio  Passion  -developed  after 
Schutz;  it  adds  the  Italian  Aria  and  Recitative  and  the  Chorale  to 
the  older  elements. 

Relaxation  of  the  old  strict  standards  in  church  music  under 
the  influence  of  the  dramatic  style. 

The  Oratorio  and  Passion  at  Hamburg;    their  frequent  trivial 
character;  Reiser,  Matthesou,  Telemann,  and  Handel. 

The  old  and  new  forms  and  ideas  are  united  and  carried  to  their 
highest  ideal  perfection  by  J.  S.  Bach. 

REFERENCES. 

Histories  of  Naumann,  Langhans,  and  Dommer. 

Hduser.  Geschichte  des  Christlichen  Kirchengesanges  und  der 
Kirchenmusik.     Quedlinburg  und  Leipzig,  Basse,  1834. 

Ritter.     Zur  Geschichte  des  Orgelspiels.     Leipzig,  Hesse,  1884.. 

*Spitta.     Johann  Sebastian  Bach. 

*Kretzschmar.     Fiihrer  durch  den  Concertsaal. 

Groves  Dictionary.     Article— Passion  Music. 

* Winterfeld.     Der  evangelische  Kirchengesang. 

*Mendel-Reissmann.  MusikalischesConversations-Lexikon.  Leip- 
zig, List  und  Francke.     Articles— Orgel  (Geschichte),  Orgelstil. 

* Spitta.     Zur  Musik.     Berlin,  Paetel,  1892. 

Spitta.     Musikgeschichtliche  Aufsatze.     Berlin,  Paetel,  1894. 


l9 
XII. 

CHURCH   MUSIC   IN  GERMANY,    SEVENTEENTH 
AND   EIGHTEENTH    CENTURIES. 

II.     Johann  Sebastian  Bach,  1685  1750. 

Place  of  Bach  in  the  history  of  religious  life  in  Germany;  the 

greatest  name  in  Protestant  church  music;  the  interpreter  in  tones 
of  the  true  temper  and  ideal  of  the  German  people. 

The  Bach  family  the  most  musical  known  to  history;  piety, 
thrift,  and  musical  genius  combined  in  them. 

Relaxed  condition  of  the  national  spiritual  life  in  the  time  of  J, 
S.  Bach;  musical  conditions. 

Uneventful  life  of  Bach;  always  an  organist  and  choir  director; 
his  official  positions;   nature  of  his  education  and  tendencies. 

The  larger  proportion  of  his  music  written  for  the  church;  his 
conscious  life-mission  was  to  reform  and  elevate  the  national 
church  music. 

The  supreme  master  of  all  organ  players  and  composers;  de- 
mands of  the  Lutheran  service  upon  organists;  Bach's  unrivaled 
powers  as  a  player. 

Bach's  organ  Preludes  and  Fugues,  Chorale  Preludes,  etc. ;  their 
variety  of  expression,  perfection  of  form,  grandeur  of  effect. 

Highest  reach  of  his  genius  shown  in  his  vocal  works;  they  re- 
flect some  of  the  most  marked  religious  currents  of  their  da\ . 

The  Cantatas;  Bach's  qualities  as  a  writer  for  chorus  and  for 
the  solo  voice. 

Church  services  at  Leipsic  in  the  first  half  of  the  eighteenth 
century;  Bach's  duties. 

Bach's  masterpiece— the  Passion  according  to  St.  Matthew; 
reasons  for  the  fame  of  this  work:  remarkable  depth  of  expression, 
and  variety  in  treatment  of  a  single  ground  motive. 

The  Mass  in  B  miner. 

Elements  of  Bach's  greatness;  supreme  scientific  mastery,  com- 
plete self-knowledge,  even  balance  of  intellectual  and  emotional 
powers;  revival  of  his  works  in  the  nineteenth  century;  secret  oi 
his  permanent  influence  upon  the  world. 

Decline  of  church  music  in  the  German  Protestant  church  since 
Bach's  day;  causes  of  this  decline;  theatre  and  concert  hall  take 
the  place  of  the  church  as  centers  o\  musical  culture;  Rationalism 
of  the  eighteenth  century;  rise  and  popularity  ties; 


20 

recent  indications  of  revival  of  church  music  under  the  influence  of 
a  more  vigorous  spiritual  life. 

REFERENCES. 
Histories  as  before. 
*Spitta.    Johann  Sebastian  Bach. 
Poole.     Sebastian   Bach   (Great   Musicians   Series).     New   York, 

Scribner,  1882. 
*Parry.     The  Art  of  Music;  see  Index  for  Bach. 
*  Famous  Composers  and  their  Works.     Bach,  by  Sftitta. 
Macfarren.    Addresses  and  Lectures:  Bach  and  Handel.  London, 

Longmans,  1888. 
Upton.     The  Standard  Oratorios.     Chicago,  McClurg,  1893. 


XIII. 

PROTESTANT   CHURCH   MUSIC   IN   ENGLAND 
AND  AMERICA. 

I.     The  Music  of  the  Anglican  Church. 

Character  of  the  Reformation  in  England  as  compared  with  its 
course  upon  the  continent;  its  progress  during  the  reigns  of  Henry 
VIIL,  Edward  VI.,  Mary,  and  Elizabeth. 

The  question  of  a  liturgy  involved  with  the  modification  of  doc- 
trine and  government;  conservatism  of  the  reformers. 

The  Book  of  Common  Prayer;  largely  derived  from  older  offices 
of  the  Catholic  church,  especially  as  found  in  the  ancient  use  of 
Sarum;  first  edition  published  in  1549,  and  ordered  to  be  adopted 
in  all  the  churches  of  the  Kingdom. 

The  service  of  the  Anglican  church  originally  conceived  as  a 
musical  service.  The  present  three  methods  of  performing  the 
service,  viz.,  the  Cathedral  or  Choral  service,  the  Parochial,  and  the 
Mixed. 

System  of  chanting  in  the  Church  of  England,  how  differing 
from  the  Gregorian  from  which  it  is  derived;  Marbeck's  setting  of 
the  Prayer  Book,  1550. 

Singing  or  monotoning  of  the  prayers;  reasons  for  this  use. 

The  modern  accompanied  anil  harmonized  Chant;  single  and 
double  Chants;  "pointing." 

'I  he  "Service." 


11 

The  Anthem;  its  different  forms. 

The  early  composers  for  the  Anglican  church — Tallis,  Byrd, 
Farrant,  Gibbons. 

Changes  in  the  ecclesiastical  style  in  the  seventeenth  century 
under  the  influence  of  new  French  and  Italian  musical  fashions. 

The  Restoration.     Henry  Purcell,  1658-16Q5. 

Dignified  position  of  English  church  music  and  church  musi- 
cians at  the  present  day;  healthful  influence  of  the  cathedrals  and 
universities  on  English  musical  culture. 

REFERENCES. 

For  the  period,  standard  histories  of  England  and  the  English 
Reformation. 

*Kbstlin.     Geschichte  des  Christlichen  Gottesdienstes. 

McClintock  &*  Strong's  Cyclopaedia.  Articles — Liturgies,  Com- 
mon Prayer. 

*Proctor.  History  of  the  Book  of  Common  Prayer.  London,  Mac- 
millan,  1892. 

*MaskeIl.     Ancient  Liturgies  of  the  Church  of  England. 

Histories  of  Naumann,  Burney,  and  Hawkins. 

Ritter.     Music  in  England.     New  York,  Scribner,  1800. 

*Helmore.     Plain  Song  (Novello's  Music  Primers). 

*Marbeck.  The  Book  of  Common  Prayer,  with  Musical  Xotes, 
edited  by  Rimbault.     London,  Novello,  1815. 

*Jebb.  Choral  Service  of  the  United  Church  of  England  and  Ire- 
land.    London,  Parker,  1S43. 

La  Trobe.     The  Music  of  the  Church.     London,  Seeley,  1831. 

*Curiuen.     Studies  in  Worship  Music. 

*  Grove  s  Dictionary.  Articles — Anthem,  Chant,  Cathedral  Music, 
Service,  Schools. 

Stabler  &*  Barrett's  Dictionary  of  Musical  Terms.  Boston,  Dit- 
son.     Articles — Anthem,  Cathedral  Music,  Chant. 

Famous  Composers  and  their  Works.  Article— Music  in  England, 
by  Rockstro. 


22 
XIV. 

PROTESTANT    CHURCH    MUSIC   IN   ENGLAND 
AND   AMERICA. 

II.     Music  Among  the  Puritans  in  England  and  America; 
Psalmody. 

The  two  great  parties  dividing  English  Protestantism.  The 
Puritans,  and  their  attitude  toward  the  rites,  ceremonies,  and  usages 
of  the  established  church. 

The  opinions  of  the  Puritans  chiefly  derived  from  Calvin.  Abo- 
lition of  all  prescribed  and  artistic  forms  of  worship  in  the  Calvin- 
istic  church  of  Geneva;  expulsion  of  organs  and  choirs,  reduction 
of  music  to  the  unaccompanied  congregational  singing  of  metrical 
translations  of  the  Psalms. 

The  Huguenot  Psalter  of  Marot  and  Beza. 

Rise  of  the  Puritan  party  in  the  reign  of  Elizabeth;  their  de- 
nunciation of  the  established  service.  Attacks  of  Cartwright;  noble 
reply  of  Hooker  in  his  Ecclesiastical  Polity. 

Triumph  of  the  Puritans  in  the  Great  Rebellion;  overthrow  of 
the  Anglican  service,  destruction  of  organs  and  service-books,  and 
dispersion  of  the  cathedral  choirs;  restoration  of  the  ritual  under 
Charles  II. 

Congregational  psalm-singing  the  only  form  of  music  in  the 
Puritan  churches;  its  decline,  followed  by  reaction  in  favor  of  more 
artistic  methods. 

History  of  psalmody;  metrical  translations  of  the  Psalms  by 
Sternhold  and  Hopkins,  Tate  and  Brady,  and  many  others.  Long 
prejudice  against  "  uninspired  "  hymns;  the  rise  of  modern  English 
hymnody  under  the  lead  of  Watts. 

Music  in  the  Puritan  churches  of  America  follows  the  same  gen- 
eral course  as  in  England.  Grotesque  character  of  church  singing 
in  New  England  in  the  seventeenth  century;  growing  demand  for 
better  things  in  the  eighteenth  century;  introduction  of  more  artis- 
tic music  in  the  face  of  bitter  hostility.  Formation  of  choirs,  and 
introduction  of  instruments  into  the  churches. 

William  Billings  and  the  New  England  anthem  of  the  eighteenth 
century. 

The  New  England  choir  and  singing  school  to  1850;  Lowell 
Mason. 

Music  in  the  non-liturgical  churches  of  America  at  the  present 


23 

time;  this  music  eclectic,  no  uniformity  of  methods  or  tendencies, 
no  school  of  American  church  composers.  The  chorus  choir,  quartet 
choir,  congregational  singing.  The  "Gospel  Songs"  and  the  ideas 
which  justify  them.  Does  the  church  profit  by  the  diffusion  of 
higher  musical  taste  among  the  masses? 

REFERENCES. 

Histories  of  Hawkins  and  Burncy. 

*Douen.    Clement  Marot  et  le  Psautier  Huguenot.     Paris,  1878. 

Koch.    Geschichte  des  Kirchenliedes  und  Kirchengesanges. 

*Kbstlin.    Geschichte  des  Christlichen  Gottesdienstes. 

Grove  s  Dictionary.     Article — Psalter. 

La  Trobe.     The  Music  of  the  Church.     Chapter  on  Psalmody. 

*Curwen.     Studies  in  Worship  Music. 

Glass.     The  Story  of  the  Psalters.     London,  Paul,  1888. 

*Hooker.    The  Laws  of  Ecclesiastical  Polity,  Bk.  V. 

*Ritter.     Music  in  America.     Xew  York,  Scribner,  1S90. 

Bibliotheca  Sacra,  Vol.  XXXVI.     Xew  England  Psalmody. 

Gould.     Church  Music  in  America.     Boston,  Gould,  1853. 

Brooks.     Olden-Time  Music.     Boston,  Ticknor,  1888. 

*Earle.     The    Sabbath   in    Puritan    Xew    England.      Xew   York, 

Scribner,  1891. 
Perkins  &^  Dwight.     History  of  the  Handel  and  Haydn  Society. 

Boston,  Mudge,  1 883-1 893. 
Prefaces   to   the    Plymouth    Collection,    edited   by    Henry    Ward 

Beecher;  and  The  Plymouth  Hymnal,  edited  by  Lyman  Abbott. 

English  Hymnology: 

* Julian.     Dictionary  of  Hymnology. 
*Duffield.     English  Hymns.     Xew  York,  Funk,  1888. 
*Horder.     The  Hymn-Lover.     London,  Curwen,  1889. 
Saunders.    Evenings  with  the  Sacred  Poets. 


XV. 

SUMMARY  AND    CONCLUSION. 

The  problem  of  church  music;  its  value  as  a  promoter,  intensi- 
fies and  director  of  religious  emotion.    Art  in  the  service  of  re- 


24 

ligion.  Danger  that  art  rather  than  religion  maybe  the  gainer. 
Secularizing  tendencies  in  religious  music  and  how  to  meet  them. 

Is  there  an  authoritative  standard  of  church  music?  Distinc- 
tion between  church  music  and  religious  concert  or  dramatic  music. 
Influence  of  association. 

Choir  music  vs.  congregational  music,  artistic  music  vs.  popular. 

How  to  promote  a  noble  and  edifying  style  and  practice  of 
church  music.  Danger  in  non-liturgical  churches  of  separating 
music  in  effect  from  the  rest  of  the  service.  The  choir  as  repre- 
sentative of  the  congregation. 

The  relation  of  the  minister  to  the  choir. 

The.  education  of  organists  and  choir-leaders. 

The  need  of  higher  musical  knowledge  and  taste  in  church, 
public  school,  college,  and  theological  seminary. 

The  highest  type  of  church  music,  that  which  religious  history 
has  finally  sanctioned,  is  that  which  is  inspired  by  living  faith  and 
wrought  with  artistic  skill. 


